Ian Hunter | April 2026 | Horse’s Mouth

 

So…..how’s it goin’……..

 

Robin Bell: Hi Ian, could you please wish me a happy 70th birthday for the 3rd of June coming, and have a great 87th birthday yerself, looking forward to Defiance 3 soon, cheers, Robin.

 

IH:  Hey Robin – Happy Birthday!  Defiance III coming along great.

 

 

 

 

Scott Reppert: Good day, sir! I have a lyrical question for you: most places where the lyrics to “Roll Away The Stone” are printed say “So sing we still got a chance” (which makes no sense at all, to me). I have always thought it was “So seeing we still got a chance”. So now I come to “The Horse’s Mouth” to find out!!!

 

IH: “So sing – we still got a chance” – make sense to me.

 

 

 

 

Pasquale: Hi Ian, a question from a long time ago… Steve Marriott ad ieri 35 years ago, same as today. He sang the chorus on my favorite Mott the Hoople song, Midnight Lady. How did It happen? Greetings from sunny southern Italy

 

IH:  I forget which hotel we were in, but it was on Broadway in Manhattan. I ame down to breakfast and saw Steve – we said hello and he asked me what we were doing. I told him we were going out to Long Iland that day to record a single. The Face were really big then, but I said, just for fun, “You want to come along?” and he just said OK – and that was it. I was on the mike – he was about 20 feet away – great, enormous voice

 

 

 

 

Sam Hallenbeck: Hi Ian – I live in Tampa, Florida, which once had a pretty good live music scene, yet over the past decade or so it’s eroded, with many of the independent venues no longer being able to draw national acts and subsequently closing their doors, leaving a handful of large arenas, stadiums and performing arts centers, with something of a dearth in between. Lately, however, the downtown area’s experienced a commercial rebirth of sorts in the guise of restaurants, hotels and the like, and two new venues are now slated to be built, both designed to draw mid-sized acts, one of which is a 4,800 seater reportedly run by Live Nation. The other, a mile or so away, will be a 3,400-seat venue run by Vinik Sports Group, managers of the Tampa Bay Lightning. It will sit directly across the street from the 21,500 seat Benchmark Arena. Some think it’s great and will be a gateway to a plethora of new bands coming to town, while others scream that it’s gentrification at its worst, representative of the corporate battle axe that will take down any remaining independent live music venues and jack ticket prices to unaffordable levels. I’ve seen loads of great shows in places like City Winery, where I saw you and the Rant Band three times, as well as Bob Mould, Nada Surf and Matthew Sweet. You know full-well the industry from the inside. I’d be interested in your take on the ups and downs of venues such as City Winery, BB King’s, House of Blues and Hard Rock Live versus the independents who may wear the scruffier soul of rock and role on their collective sleeves but also be struggling to bring national mid-level acts into town. Thanks

 

IH: I think everything’s going corporate. They’ll always be exception – but not enough. When we started out in the UK it was great – not so great now. I like the Wineries in the U.S. they suited me. Different times – different music.

 

 

 

 

Jem H: Hello Ian, I haven’t asked a question since Issue 272, so I hope you and yours are all well… I still can’t get over having dialogue with you, it’s great! Thanks for your responses 👍 I’ve just finished reading ‘Stay Alive – the life & death of Stuart Adamson – the authorized biography’, by Scott Rowley (2026), new modern, London. I have some recordings by both the Skids and Big Country. Stuart was a great guitarist and songwriter (as you are). 1. Have you read it? 2. Did you ever meet Stuart? 3. Do you think you might authorize your own biography, in your lifetime, by another? Your own song ‘Ships’ (1979), is referred to on page 317, as a moving recollection by Kirsten, Stuart’s daughter. Certain other parallels (with you and Stuart), Scotland, English births, time in America, talent!! As always, the very best to you…

 

IH:  1) Haven’t read it.  2) Nope.  3) It’s already out there – Campbell Devine. 

I just googled him; sorry to Kirsten – I’m not much of a listener. Sounds like he was pretty great – but a little too busy. That’s how it gets to you.

 

 

Ed: This has probably been asked already and if so, my apologies. Were the other MTH guys upset or angry when you left the band? I ask because the album Drive On they made as Mott had a ‘What a Bloke List’ on the inset. It was an extensive list of people that were part of the band history. Your name was absent. It did show up on the follow up album though.

 

IH: I think they were pissed off over the Ronson situation. I think they thought I had too much control (I didn’t), and when it came down to it I chose to go with Ronno. What they didn’t know was that Guy Stevens came to our flat in Wembley and tried his best to get me to keep the name. I didn’t because I knew they were going to need it. Time is a great healer. We all eventually got together again and had a lot of fun. The night before the O2 gig we were up all night listening to Pete Watts (who was hilarious) ably accompanied by Phally and Ralpher going over old time. We were all actually knackered on the biggest gig of the tour.

 

 

 

 

David Sleger: For 50 years a mystery song has been buzzing in my head. Was it Leon Russell? Randy Newman? Dr. John? Nope. I finally found an online song finder site. I entered the lyrics ‘Sleep with one eye open. Beware of women, they’ll always cut you” It’s a Joe Droukas song!! Heard it very briefly on radio in 75 or 76. Any memories of Droukas?

 

IH:  Sorry!!

 

 

 

 

Jim mills: Hi Ian – I’m sure you must have already talked about this and I’m sorry to go over old ground … The line goes: “Television man is crazy Saying we’re juvenile delinquent wrecks …” The next line in most versions (Mott studio version, Bowie demo, ‘David Live’ version etc.) is “Oh man, I need a TV when I’ve got T. Rex”, but some others (later Bowie live versions) say “I DON’T need a TV when I’ve got T.Rex.” The “don’t” version makes more sense to me – a simple statement that you don’t need television and its out-of-touch commentators when you have rock and roll. What does that line mean without the “don’t”? Is it sarcastic, like “Yeah, I really need TV. Gotta have it. Er, I don’t actually, I have T. Rex which is better.” Or maybe it means “I do need a TV, so I can see T. Rex on ‘Top of the Pops’.” What’s your take?

 

IH: Probably – when he wrote the song – he did need T.Rex. Later on – he didn’t!

 

 

 

 

gary w: Hi Ian! Just wondered if you ever interact with fans when you’re out and about in the town you live in? What are some of their reactions to you? Are you always appreciative of your fans, or do some get under your skin, so to speak? Any release date, yet, on Defiance 3?

 

IH: I get odd looks, the occasional handshake, but Connecticut people are pretty private. It’s fine where we live. Defiance II came out too soon after Defiance I, so we didn’t get the same amount of attention. This tells us to take it easy on this one. It’s practically done – not mixed – and I would imagine next year. Andy’s in and out with JM so we do stuff in between. I’m extremely happy with it.

 

 

 

 

Anonymous: Howdy, I too saw the speak easy 1974 interview. What struck me is how out going you were, how much you smoked and your comments on dogs. I have had many dogs but in retrospect they were props in my life that I let take my seat on the couch. Then one day I went for a hike with friends, and I bit off more than I can chew. I was tired, banged up and bruised. One of the dogs with us never took its eyes off me. It would stop and pause as if to say, “you ok??” It was a profound moment that changed my perspective, so the reverence you spoke of dogs struck me. Biting off more than you can chew can be satisfying as long you don’t die in the process. You often speak songs you stuck with that you should have let go but is there any that you obsessed on that turned out great? AAAB was one of your more unique albums but was it harder to make than any of your other albums artistically, (Not fires or personality strife.)

 

IH:  We always had dogs until one died in the U.S. while we were in the U.K. Our dogs were amazing – so much nicer than most people. Cats are murderers!! I obsessed twice in my life over a song. One was ‘Memphis’ and the other is on the next album.

 

 

 

 

Malcolm Lay: Always rated Blue Weaver as a keyboard player particularly with his Bee Gees influence. Should he have read more credit for the disco stuff? With the BG How did he get the gig with Mott and are you in touch with him???

 

IH: Blue’s absolutely one of the best. Great bloke to boot. I just saw a photo of him in his studio – he’s looking good! I can’t remember how we got him in MTH – but he was terrific.

 

 

 

 

gary walden: Hi Ian! Just wondered if you have any funny stories you can share about fans you have met over the years. What are the downfalls of being famous? and, finally, is it possible you can include lyrics inside Defiance #?

 

IH: One immediately comes to mind. It was in England, I can’t remember exactly where we were, (Manchester? Sheffield? Liverpool?) – middling England. This guy got into the dressing room after a gig and lifted his t-shirt over his head. He had a David Bowie tattoo over his entire upper half. I feigned jealousy – ‘where’s me?’ Fast forward to the same gig the following year – same guy gets in – throws himself on the floor face down and there’s a tattoo of me all over his back!!! I hope they aged well.

p.s. I shall indeed prevail lyrically.

 

 

 

 

Lauren Moitrot: Hi Ian. The French guy here. Long time no see. I often see people asking you questions about “songs from the past” and you answering the most sensible answer by saying “I don’t go back”. As an apprentice songwriter (by the way did Mastro give you a copy of the CD he produced for me? He said he would …) I have one “time related” question. Does it happen to you to have a song “on the bench” yet it takes ages (years?) to actually complete it and record it the way you want it to sound? or does it “pop up” fast? Not just talking about the time i need to write one verse but thinking of Lou Reed or The Stones. We know “start me up” for example took quite some time for them to actually find the proper way to play it … PS : Heard of Geoff Appleby passing away last Tuesday, April 21. His daughter warned me as we happened to become friends over the years. Very sad news.

 

IH: Haven’t seen James in months. I know he’s got stuff for me, but he’s constantly gigging, has two shops etc. etc. I’m sure he’ll get around to it.  As far as songs are concerned, if I start one – if I get the initial idea (that’s the key) it won’t take that long (although the older I get – the longer it takes). 3 or 4 of the songs on Defiance III were months in the making – used to be days or weeks. I found that keeping ‘holdovers’ for years doesn’t work for me. I’ll check and they’re not quite up io it. Anybody want 100 cassettes!! Geoff was a lovely man, close with Ronson. Good musician. Very much enjoyed his company. Please give his daughter my sympathy.

 

 

 

 

Scott McClymont: Hey Ian, beginner piano player here. Been messing around with Memphis. Lots of fun. Do you do both hand octaves when you play it live? I would think that once the band gets all jazzed up from the live audience and increases the tempo it might be hard to do, Maybe I just have a long way to go. lol Anyway thanks for all the great music and please resume normal service as soon as possible. Which means I would like to see a show, if possible lol

 

IH: Yup – all octaves. I can still do it!  Haven’t played in a while. One of my grandsons, Jamie, was here (he’s a drummer) and he had me downstairs for a ‘plonk’. No problem!

 

 

 

 

Jack:   Just watched ” Rock and Roll High School.” Ever seen it? The Ramones?

 

IH: Never saw the Ramones. Used to go down CBGB’s now and again. Saw Blondie, but never saw the Ramones. Didn’t do too badly – did they.

 

 

 

 

Peter Jordan: I wanted to ask about the motivation around cover versions. I really enjoyed you and the ranters version of ‘Knocking on Heaven’s door! ‘ a while back. I guess it’s a moody song and your version was definitely that! More generally are they a tribute or a bit of fun or in that case ‘Re the Dylan comparisons this is what I sound like when I try to sound like him?’ Is there much point in doing covers if they sound a lot like the original at least to the uninitiated like me? I’m also guessing that as you’ve said on here that you mostly see yourself as a writer the attractions of doing a covers album would be limited for you?

 

IH: No reason – just love that song – so simple, but so incredible. Call me selfish – just had to do it.

 

 

 

 

Jim K: Were you and the band a fan of the Carry On movies and Syd James?

 

IH: Not really; preferred him in ‘Hancock’s Half Hour”. Great character.

 

 

 

 

Ooour Wullie: Hello Ian,Trudi,family, motters and ranters. Hope all is well. Any updates on defiance 3?So dying for it’s release. Lang may your lum reek

 

IH: Ooooooooer Wullie!  Whit!!! Am no tellin’ yeez…….!

 

 

 

 

Matt Nojonen: Dear Mr. Hunter, Recently had a conversation on the subject of rock bands. Started when I said how happy I am to see the Sex Pistols this fall. My friend said they aren’t the Sex Pistols and he had a point. He is a huge Who fan and said he didn’t consider them The Who anymore after Moon and Entwistle passed away. On the other hand, many bands have had lineup changes and are still considered “the band.” Johnny Rotten described the current Sex Pistols tour as “karaoke.” I didn’t have the chance to see them in 1996, the last time all the founding members were on tour, so seeing them this time around is as close as I can get. What is your opinion? At what point does losing a member or two change the band so much that only the name remains? Is losing a key member the difference? Do you think it matters? Thanks, Matt Nojonen

 

IH :It’s up to the individual. Lots of mainstream fans go for the old songs – not so much the actual band members. I’m more inclined to agree with John Lyden. Best gigs I ever saw were the original ‘Who’ at the Roundhouse and ‘Tina Turner and Ike and the Ikettes in New York. Would I go now? Probably not, although I love Pete Townsend.

 

 

 

 

Dru: Why did you choose Max Norman to produce All The Good Ones Are Taken?

 

IH: Dunno!

 

 

 

 

james angelo: Hi Ian, I’m 62 and my 80 brother got me into your music when I was 12. Just curious how you are feeling at almost 87? Congratulations on a great career!!

 

IH: Aah, y’know James – bits failing here and there. I call it ‘old man stuff’!

 

 

 

 

Stephen Green: Hello Ian & Trudi, longtime fan here going back to MTH first US gigs at The Spectrum in Philly. I was fortunate to video record The Village Underground show post 9/11. I still have the master 8mm digital tapes of the show. Id like to pass them to you for whatever commercial use you might find, or as part of your history and archives. Thanks for the joy and support your lyrics have given me throughout my years. Steve

 

IH: Spectrum – loved that gig. Excellent promoter.  You could send to: Jesse John Music, LLC, P.O. Box 245, Bridgewater, Connecticut 06752.

 

 

 

 

Phil:    Hi Ian Big favour to ask Any chance you could send email on 4th June To Nicola.waller61@btinternet.com Congratulations on staying with Phil for 50 yrs It is 50 yrs to the date we met at your gig at the gaumont Doncaster I was a roadie for the night Married her in n 81 so 45 yrs on 1st June Still playing overnight Angels!!!!! Best wishes Barnsley Phil

 

IH: I dunno – you like ‘Overnight Angels’! 50 years! We’re at 54! The Gaumont, Doncaster was the very first time Jo Elliott saw us. Same night you met your wife.

 

 

 

 

Jimmy Andrews: Hi Ian, Hope all is well! My uncle just returned from attending Geoff Appleby’s funeral, my uncle was a good friend of Ronno’s (nicknamed Robbo – Alan Robinson – he was a roadie for the RATs). I know you were acquainted with Geoff over the years, any main memories of him stand out?

 

IH: He was just a really nice guy. Mick brought him down and we instantly took to him. Knew how to play!! So here we all are.

 

 

 

 

Graham: We’ve met in Toronto a couple of times (you won’t remember – it was fairly brief each time). I’m re-listening to Yui Orta and I cannot fathom why that album wasn’t a much bigger deal – tracks are all bangers! Quick update for you on some of the parties on those sessions: Carmela Long is still singing backup with Glass Tiger / Allan Frew Band and has a regular gig as part of a Steely Dan tribute band. Pat Kilbride seems to be completely out of the business, which is too bad. I heard something about he’s teaching music these days. Keep on rockin’ my dude! G

 

IH: Yeah – I googled Pat and I think he teaches.  Moody bugger, but one of the best players in the world on his instrument.  Re: Y.U.I. Orta – Polygram changed management at release time. Dick Asher and his team left and new guys came in. Business upheaval – 65 bands suffered.  Business as usual!

 

 

 

 

Mark Trude:   You mentioned here that Andy is not a fan of songs fading out. But, while playing Dandy, it hit me that the song fades out. Not only that, the fade struck me as similar to the coda of All the Young Dudes. Am I totally mistaken or was that intentional? Also, the line “I guess I owe you one” gets me every time. Given your history with Bowie, it strikes me as quite poignant. Best to you.

 

IH: You’re right, but it wasn’t intended. “I guess I owe you one!” –  was!

 

S’all for now!

Dinner time!

 

IH

The Horse’s Mouth